Send the link below via email or IMCopy
Present to your audienceStart remote presentation
- Invited audience members will follow you as you navigate and present
- People invited to a presentation do not need a Prezi account
- This link expires 10 minutes after you close the presentation
- A maximum of 30 users can follow your presentation
- Learn more about this feature in our knowledge base article
Transcript of van gogh
In 1870, after completing a sketchy array of education, Van Gogh was employed by his uncle (Uncle Cent) and worked as an art dealer in the Hague gallery, at the age of 16.
He began to sketch people from the local community.
1880, Vincent's own urge to leave something of importance behind for mankind along with his brother Theo's consistent pressure, he became an artist.
Without any proper training, or even having open artistic talent, Gogh doubted his abilities. However, Theo continued to push Vincent forward and supported him financially.
Born on 30 March 1853, South of the Netherlands
His earliest years were spent as a quiet child with little or no attention spent on art or artistic qualities.
Gogh lost all desire to become a professional art dealer, became increasingly isolated and fervent about religion.
In 1881, at the age of 27, Vincent moved back home, he set to work on teaching himself how to draw.
He tested various different techniques and styles along with experimenting with different subject matters. Other areas he worked on mastering were perspective, shading, and anatomy
1882, Vincent also began a relationship with Sien Hoomik, a pregnant prostitute. Gogh master the skills of drawing and used Hoomik as a model whenever possible
Mauve introduces him to watercolor and oil technique.
Gogh produced nearly 150 watercolor paintings during his lifetime.
Vincent soon became irritable and made the choice to break off his relationship with Hoomik and move once again to follow artists like Van Rappard and Mauve.
1884, Vincent was first introduced to Jean-Franqois Millet, a French artist, famous across Europe for his renditions of peasant life.
Vincent soon became passionate about becoming an acclaimed drawer of figures, and continued to practice his newly developed skills.
Gogh began a ministry with the miners of Borinage. During this time the interaction between Gogh and the worker class is later shown in his works as he becomes fascinated with depicting peasant life.
Fell in love with a girl Eugénie Loyer, confessed his feelings to her but she rejected him
Miners in the Snow at Dawn, 1880
Van Gogh's younger brother, Theo
The outcome would be the creation of a master of art, who evolved from his doubtful shell into a brilliant but besieged mind very rapidly.
By the end of 1881, Vincent had moved from his parent's house and was acquiring lessons from Anton Mauve, his cousin by way of marriage.
Peasant Sitting by the Fireplace (Worn Out), 1881
Boy Cutting Grass with a Sickle, 1881
Scheveningen Woman Knitting, 1881
Barn with Moss-Covered Roof, 1881
Gogh began painting and he forcibly modeled his style after Millet. he began working on mastering weathered hands, heads and other anatomical features of peasants.
He completed 40 painted studies of peasant heads.
The Potato Eaters, 1885
His first large-scale composition and first masterpiece. This piece proved to be success, but not in his lifetime
His palette at the time consisted mainly of somber earth tones and showed no sign of the vivid coloration that distinguished his later work.
Believing he needed focused training in art techniques, van Gogh enrolled at The Royal Academy of Fine Arts in Antwerp and was impressed by the works of Rubens and various Japanese artists, and such influences would impact greatly on van Gogh’s individual style..
In his early career, van Gogh painted with dark and melancholy colors that suited his subjects at the time, namely miners and peasant farm laborers.
Van Gogh's style changed immensely when he moved to Paris in 1886 and was greatly influenced by the work of the Impressionists and Neo-Impressionists.
He began using a lighter palette of reds, yellows, oranges, greens, and blues, and experimented with the broken brush strokes of the Impressionists.
He attempted the pointillist technique of the Neo-Impressionists whereby contrasting dots of pure color are optically mixed into the resulting color by the viewer.
Banks of the Seine in the spring, 1887
Self portrait, 1886
The Seine with the Pont de la Grande Jatte, 1886
Vincent made the painting in one rush in a rapid application of paint crossing the center.
He was attempting to create harmony both by intensifying of the colors themselves and by arranging them in their complementary and simultaneous contrasts.
Influenced by Georges Seurat
Palette of light colours
Boulevard de Clichy, 1887
The Boulevard de Clichy was painted using small dabs of paint: one employing short strokes, the other tiny dots.
The influence of the Neo-impressionism movement: fleeting, spontaneous glimpses of street scenes were a favorite subject of these painters. He makes use of complementary colors the shadow of the houses. And he has employed a short, quick stroke.
The Bedroom, 1888
The most striking aspects of this work are the bright patches of contrasting color, the thickly applied paint and the odd perspective.
Inspired by the Japanese prints that Van Gogh studied, he omitted shadows from the picture.
The lack of shadows, along with the distorted perspective, makes some of the objects appear to be falling or not steady.
Père Tanguy, 1888
Almond Blossom, 1888
Van Gogh admired the bold designs, intense colors, and flat areas of pure color and he also appreciated the elegant and simple lines.
The sunflowers, 1888
Sorrowing Old Man ('At Eternity's Gate'), 1890
The starry night, 1889
Wheat Field with Crows, 1890
Van Gogh's paintings of sunflowers have altered mankind's perspective of art and life.
The colors are vibrant and express emotions typically associated with the life of sunflowers: bright yellows of the full bloom to aridbrowns of wilting and death; all of the stages woven through these polar opposites are presented.
The painting depicts a night setting, but the sky is a mixture of blues. The brushstrokes are thick and swirled, lending the sky a sense of movement. The night landscape feels alive.
With Van Gogh breaking down in the last few months he was alive, he started painting depressing things because that is the attitude that he had brought when doing his final paintings.
he developed in the last weeks of his life, many find the painting as expressing both sorrow and a sense of his life coming to an end. The crows are used by van Gogh as a symbol of death and rebirth, or of resurrection.
The story of Vincent van Gogh's tragic life, filled with mental evils and artistic triumphs , lingers almost becoming that of legend.
On July 27, 1890, He committed suicide with a gunshot to the chest and died two days after.
Movements that he inspired
Loose group of early 20th century Modern artists whose works emphasized painterly qualities and strong colour over the representational or realistic values retained by impressionism. Uses bold colours, simplified drawings and expressive brushwork
Maurice de Vlaminck
Heavily influenced by Van Gogh. He declared that he “loved Van Gogh that day more than my own father”
The Blue House, 1906
The influence of van Gogh can be seen in the strength of the color and in its vigorous application. The bold, vibrating, pure colors have no necessary relationship to reality.
He squeezed brillant colours out of tubes directly onto the canvas
Still Life, 1906
Also, he explored intense expressions of everyday, ordinary objects, following Van Gogh's example
The Fauves greatly admired Van Gogh, who used colours to express his emotions
followed his thinking, using colour to showcase their feelings in a rough, carefree way
Leaders of Fauvism: Henri Matisse, Maurice de Vlaminck and André Derain
It was a modernist movement that originated in Germany the beginning of the 20th century
Van Gogh’s influence is evident in many Expressionists. They recognized the vital force of the pure, bright colours and the confrontational directness of Gogh’s work, on which they based their own innovative art.
Van Gogh demonstrated that art was not simply a study of the visible world but an expression of the artist's internal emotional response to what he saw.
It was his departure from the slavish copying of nature to penetrate the deeper underlying truths of existence that created the break with the nineteenth century shackles of realism.
Formed by a group of German expressionist artists in Dresden in 1905
Founded by Karl Schmidt-Rottluff and Ernst Ludwig Kirchner
Expressed radical social views through modern urban scenes, landscape and figure painting
Inspired by Van Gogh's ideas on artists' communities; believed that their social criticism of modern life could lead to a new and better future
Self-Portrait as a Soldier (1915)
Shows the artist after his nervous breakdown and subsequent dismissal from military service
Ernst Ludwig Kirchner and Wassily Kandinsky were particularly drawn by Van Gogh’s technique, his intense brushwork and the sharp colour contrasts.
Der Blaue Reiter
Formed by Franz Marc and Wassily Kandinsky, December 1911 in Munich
They were part of an artistic movement who were searching for spiritual truth through their art.
Founder of Der Blaue Reiter
Affinity with Van Gogh; each saw life in religious yet tortured terms and found transcendent effects in insignificant themes,
Marc believed that colour had a vocabulary of emotional keys that we instinctively understand
Marc used colours to raise his art to a higher spiritual plan
Inspired by Van Gogh's vigorous, emotional brushwork and use of vibrant and symbolic colours
The Gleaners, 1865